Back to Basics: the ‘Oneliners’ of Els Tjong Joe Wai

March 2, 2015 at 4:18 pm (A Close Look) (, , , , )

Invitation

Invitation

What: Oneliners, an exhibition by Els Tjong Joe Wai

When: March 6, 7 & 8, 2015, 19:00-22:00 hrs. Opening March 6, 19:00 with performance by Tolin Alexander

Where: Sukru Oso, Cornelis Jongbawstraat 16a, Paramaribo, Suriname

 Els Tjong Joe Wai in front of a work that was on display in a previous exhibition,  Zonder titel  [Untitled] / PHOTO Marieke Visser, 2014


Els Tjong Joe Wai in front of a work that was on display in a previous exhibition, Zonder titel [Untitled] / PHOTO Marieke Visser, 2014

Back to basics. For artist Els Tjong Joe Wai this is her way of maneuvering through life’s rapids. She has done turnarounds a few times before. For example: suddenly breaking up in Greece where she had been living contently for many years, running a gallery, doing great artistically speaking, to return to Suriname because this is where love was calling. “Whenever I change direction, it is very important to me to go all the way back to basics. Back to pencil or ink, and paper. And then it becomes clear that what you had thought of as a transitionary phase, actually produces very nice work.”

After an intense change of direction – the sudden passing of her loved one – she once again reverted back to the basics. After the initial mourning, the feeling of wanting to do ‘something’ again, hesitantly crept upwards. But what? And where to begin? “I also make objects, so I didn’t necessarily have to start painting or drawing. I could also have started sticking or pounding or gluing things. But I thought: keep it simple. Just begin with a pencil. Just start with a line. That was very liberating. And thus entirely new work came into existence.”

From the one-liners series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

From the one-liners series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

From the one-liners series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

From the one-liners series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

From the one-liners series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

From the one-liners series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

From the one-liners series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

From the one-liners series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

From the one-liners series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

From the one-liners series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

From the one-liners series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

From the one-liners series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

From the one-liners series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

From the one-liners series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

She calls this new work her ‘one-liners’. Although this word is something out of linguistics, she does feel that it fits well here: it is after all a clear and straightforward image. Her one-liners are done on beautiful drawing paper and she also uses paper made from banana leaves. She gets the latter from the Matoekoe foundation in Lelydorp. The drawings are made with ink and a drawing pen. Although she certainly likes different colors as well, Tjong Joe Wai currently prefers working with black because she feels that the sobriety of it is most compelling to the work she makes now.

There are also larger ‘one-liners’ on paper made from the fibers of the banana plant. From the one-liners series on banana plant 'paper', by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

There are also larger ‘one-liners’ on paper made from the fibers of the banana plant. From the one-liners series on banana plant ‘paper’, by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

There are also larger ‘one-liners’ on paper made from the fibers of the banana plant. From the one-liners series on banana plant 'paper', by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

There are also larger ‘one-liners’ on paper made from the fibers of the banana plant. From the one-liners series on banana plant ‘paper’, by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

There are also larger ‘one-liners’ on paper made from the fibers of the banana plant. From the one-liners series on banana plant 'paper', by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

There are also larger ‘one-liners’ on paper made from the fibers of the banana plant. From the one-liners series on banana plant ‘paper’, by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

There are also larger ‘one-liners’ on paper made from the fibers of the banana plant. From the one-liners series on banana plant 'paper', by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

There are also larger ‘one-liners’ on paper made from the fibers of the banana plant. From the one-liners series on banana plant ‘paper’, by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

There are also larger ‘one-liners’ on paper made from the fibers of the banana plant. From the one-liners series on banana plant 'paper', by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

There are also larger ‘one-liners’ on paper made from the fibers of the banana plant. From the one-liners series on banana plant ‘paper’, by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

The one-liners are small, in postcard dimensions, but there are also larger ones, measuring up to A-3 in size. She started large and felt comfortable doing so. But afterwards she discovered that working small was actually very exciting and that she could be much more stylized in those. With the smaller one-liners especially, she uses a magnifying glass to avoid the risk of lines touching one another where they are not intended to.

Els Tjong Joe Wai loves working on paper. The one-liners may have been born out of a difficult period, but they give her much pleasure.

At her next exhibition – which is planned for March 7 &8 2015  –  she will show her one-liners and also several watercolors. It will be her second exhibition in  Suriname. The first one, named Zonder titel (without title), took place in December of 2011 and it was the exhibition at which she introduced herself as an artist in her own country.

 Before her ‘one-liners’ Els made several watercolors of figures that have maneuvered themselves in impossible positions. She calls those ‘spagaten’ (splits). From the splits series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

Before her ‘one-liners’ Els made several watercolors of figures that have maneuvered themselves in impossible positions. She calls those ‘spagaten’ (splits). From the splits series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

 Before her ‘one-liners’ Els made several watercolors of figures that have maneuvered themselves in impossible positions. She calls those ‘spagaten’ (splits). From the splits series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

Before her ‘one-liners’ Els made several watercolors of figures that have maneuvered themselves in impossible positions. She calls those ‘spagaten’ (splits). From the splits series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

 Before her ‘one-liners’ Els made several watercolors of figures that have maneuvered themselves in impossible positions. She calls those ‘spagaten’ (splits). From the splits series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

Before her ‘one-liners’ Els made several watercolors of figures that have maneuvered themselves in impossible positions. She calls those ‘spagaten’ (splits). From the splits series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

 Before her ‘one-liners’ Els made several watercolors of figures that have maneuvered themselves in impossible positions. She calls those ‘spagaten’ (splits). From the splits series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

Before her ‘one-liners’ Els made several watercolors of figures that have maneuvered themselves in impossible positions. She calls those ‘spagaten’ (splits). From the splits series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

 Before her ‘one-liners’ Els made several watercolors of figures that have maneuvered themselves in impossible positions. She calls those ‘spagaten’ (splits). From the splits series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

Before her ‘one-liners’ Els made several watercolors of figures that have maneuvered themselves in impossible positions. She calls those ‘spagaten’ (splits). From the splits series by Els Tjong Joe Wai / PHOTO Marieke Visser, 2014

Her book, Zonder title [Untitled], is still available at Book store Vaco (also on Facebook) and at Readytex Art Gallery (also on Facebook).

'Zonder Titel / Untitled', cover

‘Zonder Titel / Untitled’, cover

Els Tjong Joe Wai (Paramaribo, 1952) went to the Ruudt Wackers art academy (also on Facebook) in Amsterdam, 1998-2001. From 2001 to 2009 she lived in Aeropolis, Greece. In 2009 she moved back to Suriname as visual artist and opened Art Gallery Sukru Oso in 2011.

Els Tjong Joe Wai in front of a work that was on display in a previous exhibition,  Zonder titel  [Untitled] / PHOTO Marieke Visser, 2014

Els Tjong Joe Wai in front of a work that was on display in a previous exhibition, Zonder titel [Untitled] / PHOTO Marieke Visser, 2014

TEXT Chandra van Binnendijk, 2014

Chandra van Binnendijk (Paramaribo, 1953) is editor and publicist. From 1977 until 1988 she was part of the news editors of various newspapers and radio stations, and was a correspondent for various Caribbean media. After ten years she said goodbye to active journalism and is since focusing mostly on culture, art and history. She has co-written several art publications amongst which  Twintig jaar beeldende kunst in Suriname 1975 – 1995 (Amsterdam, KIT Publishers, 1995) and she was author and compiler of the art catalog Zichtbaar (Paramaribo, 2005) about the art collection of De Surinaamsche Bank. Recent publications in which she was involved as co-author and co-compiler are Bouwstenen voor een betere wereld. 250 jaar vrijmetselarij in Suriname (Paramaribo, 2011) and TOR. A People’s Business (Paramaribo, 2012).

TRANSLATION Cassandra Gummels-Relyveld, 2014

Permalink Leave a Comment

Sunil Puljhun – Cheerful watercolors, a new direction?

February 27, 2015 at 2:24 pm (Outspoken) (, , , , , , , , )

Artist Sunil Puljhun is exploring an entirely different direction. Predominantly black, somber canvases with acrylic paint and collages, have been exchanged for cheerful watercolors and laughing Hindustani dancers.   

Sunil Puljhun, 'Dans 1' [Dance 1], acrylics on canvas, created in the context of Glo’ Art, 2014 / Photo Courtesy Sunil Puljhun

Sunil Puljhun, ‘Dans 1′ [Dance 1], acrylics on canvas, created in the context of Glo’ Art, 2014 / Photo Courtesy Sunil Puljhun

Sunil Puljhun, 'Dans 2' [Dance 2], acrylics on canvas, created in the context of Glo’ Art, 2014 / Photo Courtesy Sunil Puljhun

Sunil Puljhun, ‘Dans 2′ [Dance 2], acrylics on canvas, created in the context of Glo’ Art, 2014 / Photo Courtesy Sunil Puljhun

For a long time Sunil Puljhun was focused on universal problems, especially those of the youth. He used mixed media, amongst which sand with dark acrylic paint. He also used various techniques: a combination of collage techniques and painting.

Sunil Puljhun, ‘A Cry 1’, digital, printed on canvas, worked on with acrylic paint, created in the context of Glo’ Art, 2014 / Photo Courtesy Sunil Puljhun

Sunil Puljhun, ‘A Cry 1’, digital, printed on canvas, worked on with acrylic paint, created in the context of Glo’ Art, 2014 / Photo Courtesy Sunil Puljhun

Sunil Puljhun, ‘A Cry 2’, digital, printed on canvas, worked on with acrylic paint, created in the context of Glo’ Art, 2014 / Photo Courtesy Sunil Puljhun

Sunil Puljhun, ‘A Cry 2’, digital, printed on canvas, worked on with acrylic paint, created in the context of Glo’ Art, 2014 / Photo Courtesy Sunil Puljhun

In 2010 he participated in a large exhibition in the gardens of De Surinaamsche Bank N.V., Paramaribo SPAN. ‘For me that was a platform that helped me to become more daring. It was a very positive experience. The installation I made for this exhibition, ‘Time Will Tell’, was a very challenging work. I dared to give my thoughts free rein. Paramaribo SPAN helped me to move forward.’

P1110231

Sunil Puljhun in front of ‘Time Will Tell’ / Photo Courtesy Sunil Puljhun

 

 

Sunil Puljhun in front of a work from the series 'The Weight of Darkness' / Photo Courtesy Sunil Puljhun

Sunil Puljhun in front of a work from the series ‘The Weight of Darkness’ / Photo Courtesy Sunil Puljhun

The large turnaround came after his solo exhibition The Weight of Darkness in De Hal, in 2011. It dealt with subjects from all around the world: power, greed, violence. ‘I thought to myself: what should I do now? I was stuck and wondered: how do I go further?’ Suddenly he applied the theme of colleague artist Marcel Pinas, “kibri a kulturu” (preserve the culture), to himself. ‘As a Hindustani artist, what do I see from my own culture? As he asked for explanations surrounding the background of several rituals from Indian culture, he received no satisfying answers. ‘For me, the choice for this theme, has to do with culture preservation as well. If you ask young people nowadays what for example kathak is, they don’t know.’

Sunil Puljhun, new work from the series about kathak-dance, mixed technique (digital or by hand), printed on cardboard with linen texture  and subsequently worked on, A4-format, 2014 / Photo Courtesy Sunil Puljhun

Sunil Puljhun, new work from the series about kathak-dance, mixed technique (digital or by hand), printed on cardboard with linen texture and subsequently worked on, A4-format, 2014 / Photo Courtesy Sunil Puljhun

Sunil Puljhun, new work from the series about kathak-dance, mixed technique (digital or by hand), printed on cardboard with linen texture  and subsequently worked on, A4-format, 2014 / Photo Courtesy Sunil Puljhun

Sunil Puljhun, new work from the series about kathak-dance, mixed technique (digital or by hand), printed on cardboard with linen texture and subsequently worked on, A4-format, 2014 / Photo Courtesy Sunil Puljhun

Sunil Puljhun, new work from the series about kathak-dance, mixed technique (digital or by hand), printed on cardboard with linen texture  and subsequently worked on, A4-format, 2014 / Photo Courtesy Sunil Puljhun

Sunil Puljhun, new work from the series about kathak-dance, mixed technique (digital or by hand), printed on cardboard with linen texture and subsequently worked on, A4-format, 2014 / Photo Courtesy Sunil Puljhun

Sunil Puljhun, new work from the series about kathak-dance, mixed technique (digital or by hand), printed on cardboard with linen texture  and subsequently worked on, A4-format, 2014 / Photo Courtesy Sunil Puljhun

Sunil Puljhun, new work from the series about kathak-dance, mixed technique (digital or by hand), printed on cardboard with linen texture and subsequently worked on, A4-format, 2014 / Photo Courtesy Sunil Puljhun

The cultural heritage of hinduism is so vast that the artist quickly chooses to delineate the field and start his research on the subject of dance. At the department ‘Cultuurstudies’ he read about everything related to it: facial expressions, finger positions, the clothing, the  origins …

Early in 2014 Sunil went to Belgium for a residency of one month, at GLO’ART (also on Facebook), a ‘global art center’. He had hoped to continue working in the new direction he had recently started on. ‘They had however, selected me based on older work and at GLO’ART (also on Facebook) they wanted me to continue working in that manner.’ Initially a disappointment, but he quickly decided to make the best of it and this ultimately resulted in a beautiful series of enhanced digital prints. ‘A few years ago I took a workshop in photography from Peter Thielen. I started working on top of canvases with photos printed on them.’

Sunil Puljhun, ‘Fear’, digitally enhanced photo on canvas, 80x150 cm, 2014, created in the context of Glo’ Art / Photo Courtesy Sunil Puljhun

Sunil Puljhun, ‘Fear’, digitally enhanced photo on canvas, 80×150 cm, 2014, created in the context of Glo’ Art / Photo Courtesy Sunil Puljhun

Sunil Puljhun, ‘Life cycle’, charcoal and acrylic paint on paper, 80x150 cm, 2014, created in the context of Glo’ Art / Photo Courtesy Sunil Puljhun

Sunil Puljhun, ‘Life cycle’, charcoal and acrylic paint on paper, 80×150 cm, 2014, created in the context of Glo’ Art / Photo Courtesy Sunil Puljhun

Sunil Puljhun, title unknown, acrylics on canvas, created in the context of Glo’ Art, 2014 / Photo Courtesy Sunil Puljhun

Sunil Puljhun, title unknown, acrylics on canvas, created in the context of Glo’ Art, 2014 / Photo Courtesy Sunil Puljhun

Once back in Suriname however, he became once again engrossed in the new theme. Aside from dance, other elements were gradually added, such as the Hindi script, the gods, the flags, the rituals surrounding death. He is preparing himself for a solo exhibition in 2015. He presented a number of these new works at the opening of the new location of Readytex Art Gallery (also on Facebook) in February 2015.

About the artist:

From a very early age, Sunil Puljhun (Paramaribo, 1978) made posters which he sold in his neighborhood in order to earn money to pay for school. Encouraged by art teacher Djiman and various family members, he started lessons at the Nola Hatterman Art Academy (NHAA) halfway through the nineties. He graduated from this institute in 1999 and is currently a teacher there. He is affiliated with the Readytex Art Gallery (also on Facebook).

Since 2001 he has participated in the National Art Fair every year. In 2009, Sunil Puljhun participates in the group exhibition Multiculturalism, in Villa Nuts, the Hague, in the Netherlands, together with colleagues Remond Mangoensemito (and more), Ravi Rajcoomar (also blogging) and Raul Wongsodihardjo. During this period he also spends time working as an art teacher at the  Gerrit Rietveld Academie (GRA) in Amsterdam, as part of the exchange program between the GRA and the NHAA in Paramaribo.

 

TEXT Marieke Visser

Marieke Visser (Bennekom, the Netherlands, 1962) studied journalism and language and literature in the Netherlands. As publicist she writes a lot about art, culture, history and tourism from her own news agency Swamp Fish Press. Three large art projects to which she has recently contributed are: Wakaman Drawing lines, connecting dotsParamaribo SPAN and  Kibii Wi Koni Marcel Pinas The Event. She is currently editor in chief of Sranan Art Xposed.

TRANSLATION Cassandra Gummels-Relyveld

The Dutch text was previously published in EFM Magazine (also on Facebook) vol. 3, no. 10, November 2014. Several months later, February 2015, Sunil Puljhun has decided to go back to his earlier themes & techniques. If you’re in Suriname, stop by at Readytex Art Gallery (also on Facebook) to see (and purchase) his work in real life. Steenbakkerijstraat 30, Paramaribo, Suriname.

EFM Magazine vol. 3, no. 10, November 2014

EFM Magazine vol. 3, no. 10, November 2014

EFM Magazine vol. 3, no. 10, November 2014, Uitgesproken [Outspoken]

EFM Magazine vol. 3, no. 10, November 2014, Uitgesproken [Outspoken]

EFM Magazine vol. 3, no. 10, November 2014, Uitgesproken [Outspoken]

EFM Magazine vol. 3, no. 10, November 2014, Uitgesproken [Outspoken]

 

 

Permalink Leave a Comment

An Eye for Art: George Struikelblok – ‘Wan Tranga Famiri′

February 26, 2015 at 10:06 am (An Eye for Art) (, , , , )

In collaboration with art critic Rob PerréeReadytex Art Gallery has developed an informative initiative: An Eye for Art. Once every two weeks Rob Perrée discusses a work of art from the collection of Readytex Art Gallery. This week ‘Wan Tranga Famiri’, mixed media on canvas, 35 cm wide x 60 cm high, 2009, by George Struikelblok.

George Struikelblok, ‘Wan Tranga Famiri’, mixed media on canvas, 141 cm wide x 208 cm high, 2009 - USD 2500 / PHOTO  Readytex Art Gallery/William Tsang

George Struikelblok, ‘Wan Tranga Famiri’, mixed media on canvas, 141 cm wide x 208 cm high, 2009 – USD 2500 / PHOTO Readytex Art Gallery/William Tsang

Recently a ‘Giant Painting’ was installed in the departure hall of the Johan Adolf Pengel airport at Zanderij. Led by George Struikelblok (Paramaribo, 1973) – in his capacity as chairman of the Federation of Visual Artists in Suriname (FVAS) – 30 Surinamese artists contributed to this enormous painting. The result: a colorful jumble of images, which make it hard to recognize the work of the individual artists. A true collaborative project, in more ways than one. Because the project generated a lot of publicity, I could look at it without having actually seen it in real life. It did not surprise me that I was still able to immediately recognize Struikelblok’s contribution. He has a signature style that works almost like a company logo. Black outlined figures referring to people, blank heads, letters and numbers lost somewhere on the canvas, like a puzzle asking to be solved, rows of ‘teeth’ placed vertically or horizontally elsewhere on the surface, and perhaps most importantly: mobile multiple colors.

This painting is a good example thereof. The light blue background pushes the central image towards the front. This is made up of much more intense colors. Bright red, green and black dominate. Because Struikelblok paints in a seemingly sloppy way – there are no neat lines that fully connect, ‘spilled’ drops can be seen all over, forms run over or through each other – a dynamic is created that seduces and sparks curiosity.

Because his paintings are always somewhere between abstract and figurative, it is always guessing what exactly you see, or rather what you see in it. At first sight it is to me, a passionate embrace between two lovers. The sparks fly off of it. From some distance, but still quite close by: two other figures that seem to observe. In any case they radiate less energy. The title however, ‘Wan Tranga Famiri’ (Strong family), refers to a close-knit family. These figures could then be, or must be, the children of the excited pair. That is the downside of titles. They take away a part of your freedom. I would have preferred to see those other two in a competitive or an envious role …

Struikelblok uses love as his main theme for quite a while now. With that he has not made it any easier for himself. Somebody once said: happiness is the death of art. Because of his way of painting, because of the emotional impact of his paintings, because of the strength of his images, he has been able to, for now, refer that statement to the land of fiction.

 

TEXT Rob Perrée, Amsterdam, February 2015

TRANSLATION Cassandra Gummels-Relyveld, 2015

Want to take a closer, personal look at this work? That’s possible at Readytex Art Gallery, Steenbakkerijstraat 30, Paramaribo. www.readytexartgallery.comFor more information about George Struikelblok please visit the website http://readytexartgallery.com/georgestruikelblok.

Print

A previous edition of An Eye for Art about George Struikelblok can be read here:

https://srananart.wordpress.com/2014/07/02/an-eye-for-art-george-struikelblok-lob-makandra-2/ 

NOTE! This work has been sold.‘Lob Makandra 2’, mixed media on canvas, 35 cm wide x 60 cm high, 2012 - USD 350 / PHOTO Readytex Art Gallery/William Tsang

‘Lob Makandra 2’, mixed media on canvas, 35 cm wide x 60 cm high, 2012 – SOLD / PHOTO Readytex Art Gallery/William Tsang

More work by George Struikelblok available in Readytex Art Gallery (also look at the page Owner 2 Owner):

George Struikelblok, ‘Den Lobi Wan’, mixed media on canvas, 225 cm wide x 151 cm high, year unknown - USD 2500 / PHOTO  Readytex Art Gallery/William Tsang

George Struikelblok, ‘Den Lobi Wan’, mixed media on canvas, 225 cm wide x 151 cm high, 2012 – USD 2500 / PHOTO Readytex Art Gallery/William Tsang

George Struikelblok, 'We tan nanga makandra', mixed media on canvas, 150 cm wide x 150 cm high, 2011 - USD 1300 / PHOTO Readytex Art Gallery/William Tsang

George Struikelblok, ‘We tan nanga makandra’, mixed media on canvas, 150 cm wide x 150 cm high, 2011 – USD 1300 / PHOTO Readytex Art Gallery/William Tsang

George Struikelblok, 'Mi lobi yu', mixed media on canvas, 57 cm wide x 145 cm high, 2013 - USD 800 / PHOTO Readytex Art Gallery/William Tsang

George Struikelblok, ‘Mi lobi yu’, mixed media on canvas, 57 cm wide x 145 cm high, 2013 – USD 800 / PHOTO Readytex Art Gallery/William Tsang

LOGO eye for art

This edition of An Eye for Art has been sent as a RAG-mailing on February 26, 2015 and was published in Kunst en Cultuur in de Ware Tijd on February 26, 2015.

Because really looking at art and understanding art are not always obvious and easy to do, we hope that these regular reviews will at least offer you some insight into the process.  You will get to see how a connoisseur looks at art, discusses it, and then links the work to others within the international art world.

Of course you can only truly judge a work of art when you are actually standing in front of it yourself. We therefore hope to see you soon in Readytex Art Gallery  and are eager to hear what you think of this artwork, and which other works of art you find yourself drawn to. Please note that the artworks discussed are still available for purchase at the time that the review is published.

Rob Perrée is art historian and works as freelance writer, art critic and curator, specialized in contemporary (Afro-) American art, African art, Surinamese art and art using new media. His work has appeared in countless catalogues, books, magazines and newspapers. He is editor of Sranan Art Xposed, editor in chief of Africanah.org and a member of the editing team of Pf Photo Magazine. His website: http://robperree.com.

 

Permalink Leave a Comment

Reducing the distance – Razia Barsatie

February 17, 2015 at 3:44 pm (A Close Look) (, , , , )

On October 1st Razia Barsatie started her period as artist in residence at Tembe Art Studio (TAS) in Moengo. The relationship between the artist and Moengo however, had started much earlier. Razia was a student at the Gerrit Rietveld Academie in the Netherlands from 2008 until 2012. At that that time, while doing an internship in Suriname, she already visited Tembe Art Studio. Her colleague Ravi Rajcoomar was then the artist in residence there.

Invitation for unveiling installation by Razia Barsatie

Invitation for unveiling installation by Razia Barsatie

Since her return to Suriname, now a little over two years ago, Razia has made the trip to this former mining town in the district of Marowijne, many times. She also helped there during the Moengo Festival of Theater & Dance in September 2014, and she is already part of the team working on the preparations for the Moengo Visual Arts Festival of 2015. “I just love driving to Moengo. I often do so alone. Then I simply enjoy the surroundings and the rest and the opportunity to just think about all kinds of things.” That others often ask if she isn’t afraid to go to Moengo and especially to make the drive all by herself – which incidentally she is not at all – has put her to thinking. “People know so little about Moengo. What they do know, is what they see in the press, and that is often only the negative news. But there is so much that is positive. But the distance is an obstacle. Because of that the negative seems closer and the positive is kept at a distance. That is unfortunate.”

A sketch for the installation / PHOTO Cassandra Gummels-Relyveld, 2014

A sketch for the installation / PHOTO Cassandra Gummels-Relyveld, 2014

When the opportunity for her own artist in residence period came along, Razia knew immediately that this would be her subject for the artwork she would leave behind in Moengo. That artwork does not stand there yet. The concept is ready, the choice of materials is for the main part complete, but there are some questions still surrounding the execution. It is after all not a simple object. The art installation that Razia will leave behind in the art park at Moengo is a very large telescope. And preferably one that really works. The telescope will stand there as a symbol of reducing the distance; of bringing the positive closer. The positive side of Moengo should be clearly visible for anyone daring to take a closer look. Distance should not be an obstacle when you want to discover something new.

According to the original concept, the four meter long telescope will be positioned on top of a hill in Moengo, directed towards a beautiful spot or object in the area. The telescope will be ‘carried’ by two human figures covered on the outside with bauxite stones from the area. That the telescope will come, that is certain. Whether it is an actual magnifying telescope depends on the results of Razia’s search for the appropriate telescopic glass. And where exactly it will stand, and whether it will be on a hill, is something that will be determined very soon. “For now there is still a  plan A, a plan B, etc, etc …”, says the artist. “Because if you have an idea, you should just go for it. Eventually you will find a solution for everything. Where that is concerned I always keep a few alternatives in mind”.

This way of thinking is something that Razia has taken with her from her studies at the Gerrit Rietveld Academie. “There they put great emphasis on the conceptual. You learn that the idea, the concept, is very important, and not so much the execution”. Razia is indeed very much focused on the conceptual when it comes to her art. She specialized in video art at the Rietveld academy, but she is also very interested in installation art. Regardless of the medium that she chooses however, it is always the concept that takes precedence in her work. That was already clearly visible at her first solo exhibition in Suriname called Anxious, where in addition to video animations, she also showed a wrought iron installation. It is also clear in more recent projects (in French Guyana and at Het Surinaamsch Rumhuis of the SAB for example) where she incorporated aromatic spices in her art. The addition of scent makes a much broader sensory experience of the artwork and this is something that Razia intends to experiment with further.

An installation with fresh peppers, made by Razia Barsatie in French Guyana during an Inter Guyanese Cultural festival. “What was important to me: the scent of pepper coming from the installation. The scent was actually the work of art; the patterns were just presentation.” / PHOTO Courtesy Razia Barsatie

An installation with fresh peppers, made by Razia Barsatie in French Guyana during an Inter Guyanese Cultural festival. “What was important to me: the scent of pepper coming from the installation. The scent was actually the work of art; the
patterns were just presentation.” / PHOTO Courtesy Razia Barsatie

An installation with fresh peppers, made by Razia Barsatie in French Guyana during an Inter Guyanese Cultural festival. “What was important to me: the scent of pepper coming from the installation. The scent was actually the work of art; the patterns were just presentation.” / PHOTO Courtesy Razia Barsatie

An installation with fresh peppers, made by Razia Barsatie in French Guyana during an Inter Guyanese Cultural festival. “What was important to me: the scent of pepper coming from the installation. The scent was actually the work of art; the
patterns were just presentation.” / PHOTO Courtesy Razia Barsatie

Old rum barrels from Suriname Alcoholic Beverages N.V. (SAB), decorated with spices by Razia Barsatie during the first Museum Night in Suriname, in Het Surinaamsch Rumhuis (Facebook) on May 18, 2014 / PHOTO Courtesy Razia Barsatie

Old rum barrels from
Suriname Alcoholic Beverages N.V. (SAB), decorated with spices by Razia Barsatie during
the first Museum Night in Suriname, in Het Surinaamsch Rumhuis (Facebook) on May 18, 2014 / PHOTO Courtesy Razia Barsatie

Old rum barrels from Suriname Alcoholic Beverages N.V. (SAB), decorated with spices by Razia Barsatie during the first Museum Night in Suriname, in Het Surinaamsch Rumhuis (Facebook) on May 18, 2014 / PHOTO Courtesy Razia Barsatie

Old rum barrels from
Suriname Alcoholic Beverages N.V. (SAB), decorated with spices by Razia Barsatie during
the first Museum Night in Suriname, in Het Surinaamsch Rumhuis (Facebook) on May 18, 2014 / PHOTO Courtesy Razia Barsatie

Old rum barrels from Suriname Alcoholic Beverages N.V. (SAB), decorated with spices by Razia Barsatie during the first Museum Night in Suriname, in Het Surinaamsch Rumhuis (Facebook) on May 18, 2014 / PHOTO Courtesy Razia Barsatie

Old rum barrels from
Suriname Alcoholic Beverages N.V. (SAB), decorated with spices by Razia Barsatie during
the first Museum Night in Suriname, in Het Surinaamsch Rumhuis (Facebook) on May 18, 2014 / PHOTO Courtesy Razia Barsatie

Old rum barrels from Suriname Alcoholic Beverages N.V. (SAB), decorated with spices by Razia Barsatie during the first Museum Night in Suriname, in Het Surinaamsch Rumhuis (Facebook) on May 18, 2014 / PHOTO Courtesy Razia Barsatie

Old rum barrels from
Suriname Alcoholic Beverages N.V. (SAB), decorated with spices by Razia Barsatie during
the first Museum Night in Suriname, in Het Surinaamsch Rumhuis (Facebook) on May 18, 2014 / PHOTO Courtesy Razia Barsatie

Old rum barrels from Suriname Alcoholic Beverages N.V. (SAB), decorated with spices by Razia Barsatie during the first Museum Night in Suriname, in Het Surinaamsch Rumhuis (Facebook) on May 18, 2014 / PHOTO Courtesy Razia Barsatie

Old rum barrels from
Suriname Alcoholic Beverages N.V. (SAB), decorated with spices by Razia Barsatie during
the first Museum Night in Suriname, in Het Surinaamsch Rumhuis (Facebook) on May 18, 2014 / PHOTO Courtesy Razia Barsatie

Razia has also introduced an interesting concept during the art lessons that she gives to the children in Moengo and surroundings as part of her residency. Instead of the standard drawing lessons, she makes short animation films with the children using drawings that they have made. In the films the children act out their own stories, visually as well as vocally. The concept was received with much enthusiasm by the kids. They start with a full-color drawing of a favorite place from their own surroundings, followed by a drawing of themselves. The latter is then cut out and glued to a pencil so that the figures can then be moved against the background of the first drawing. The children are divided in groups and together they make up a story which they play out and which is then filmed by Razia. The creativity of the children is thus stimulated on different levels and they learn to work together effectively. “The children really enjoy doing this. Sometimes they don’t even want to go home.” Razia hopes to also present the results of this project at the upcoming Moengo Visual Arts Festival in 2015.

4eb62fd243f8e152197d205de4f2acea

The children in Moengo working on the animation film project / PHOTO Courtesy Razia Barsatie, 2014

The children in Moengo working on the animation film project / PHOTO Courtesy Razia Barsatie, 2014

f536efcb12d4c567aad611f908fb179f

The children in Moengo working on the animation film project / PHOTO Courtesy Razia Barsatie, 2014

The children in Moengo working on the animation film project / PHOTO Courtesy Razia Barsatie, 2014

The children in Moengo working on the animation film project / PHOTO Courtesy Razia Barsatie, 2014

The children in Moengo working on the animation film project / PHOTO Courtesy Razia Barsatie, 2014

A still from the animation film project / PHOTO Courtesy Razia Barsatie, 2014

A still from the animation film project / PHOTO Courtesy Razia Barsatie, 2014

A still from the animation film project / PHOTO Courtesy Razia Barsatie, 2014

A still from the animation film project / PHOTO Courtesy Razia Barsatie, 2014

A still from the animation film project / PHOTO Courtesy Razia Barsatie, 2014

A still from the animation film project / PHOTO Courtesy Razia Barsatie, 2014

Sometime in January the artwork of Razia Barsatie will proudly stand on the spot that the artist has ultimately chosen for it. People from Moengo, young and old, visitors, and others from the surroundings, will curiously look through the glass of the telescope to see what it is that Razia wants them to see. It will surely be something special. Because if you dare to take a good look, and don’t get scared away by distances, there is a lot that is worth discovering, and certainly in Moengo. Good luck Razia!

Razia’s wire sculptures, during the Open Day at Prakwaki on 19 January 2014 / PHOTO Courtesy Razia Barsatie

Razia’s wire sculptures, during the Open Day at Prakwaki on 19 January 2014 / PHOTO Courtesy Razia Barsatie

prak 2

Razia’s wire sculptures, during the Open Day at Prakwaki on 19 January 2014 / PHOTO Courtesy Razia Barsatie

prak 3

Razia’s wire sculptures, during the Open Day at Prakwaki on 19 January 2014 / PHOTO Courtesy Razia Barsatie

prak 4

Razia’s wire sculptures, during the Open Day at Prakwaki on 19 January 2014 / PHOTO Courtesy Razia Barsatie

 

TEXT Cassandra Gummels-Relyveld

Cassandra Gummels-Relyveld is a freelance writer. Aside from her work for Sranan Art Xposed, she writes primarily for the Readytex Art Gallery in Paramaribo, Suriname. She writes press releases, website texts and takes care of the publicity materials surrounding the exhibitions and other activities of the gallery.

On the Sranan Art Flickr-page please find an album with photos by Peter Thielen and Cassandra Gummels-Relyveld of the presentation of Razia Barsatie‘s installationSan e soi faawe e kon koosube’ (‘Iets wat ver lijkt is eigenlijk dichtbij’ or ‘Something that seems far away is actually nearby’) on February 15, 2015, in Moengo, Marowijne district, Suriname.

A video registration from the unveiling of Razia Barsatie’s installation, February 15, 2015, by Peter Thielen: Razia Barsatie – ‘San e soi faawe e kon koosube’, Moengo, Marowijne, Suriname

Permalink Leave a Comment

An Eye for Art: Hanka Wolterstorff – ‘De golfslag van Coronie’

February 11, 2015 at 12:14 pm (An Eye for Art) (, , , , , , , , )

In collaboration with art critic Rob PerréeReadytex Art Gallery has developed an informative initiative: An Eye for Art. Once every two weeks Rob Perrée discusses a work of art from the collection of Readytex Art Gallery. This week he talks about ‘De golfslag van Coronie’ [The waves of Coronie], ceramics, 60 cm wide x 38 cm high x 32 cm deep, 2011, from Hanka Wolterstorff.

Hanka Wolterstorff, 'De golfslag van Coronie’ [The waves of Coronie], ceramics, 60 cm wide x 38 cm high x 32 cm deep, 2011 - USD 300 / PHOTO Readytex Art Gallery/William Tsang

Hanka Wolterstorff, ‘De golfslag van Coronie’ [The waves of Coronie], ceramics, 60 cm wide x 38 cm high x 32 cm deep, 2011 – USD 300 / PHOTO Readytex Art Gallery/William Tsang

Whether as an art lover you like it or not, the traditional boundaries of art are gradually blurring under the influence of the internet and social media. Many young people in particular, are not concerned about whether something is art, or is considered art, or not. They are faced with so many images on a daily basis, that they see them as one large image databank, which you can tap into freely. Because you consider it beautiful, cool, or because it speaks to you for some other reason. And then there are so many accessible gadgets and devices easily within reach, that anyone can make a film or a photograph. So how so artist? The boundaries between artists and handy amateurs are fading as well.

On the other hand there are increasingly more artists who use art forms that previously belonged more to well meaning amateurs. There is currently much knitting, embroidering, crocheting, sculpting and  knotting of carpets going on. These developments are not only inevitable, they are also interesting, because artists force themselves to think and operate differently. They are interesting because they increasingly refer the artificial differences between ‘high art’ and ‘low art’ to the past.

For those free-thinking viewers and artists, it would be good to take notice of the work of an artist such as Hanka Wolterstorff (Hoorn, 1943).  She knows how to use ‘ordinary’ clay to make objects such as this ‘De golfslag van Coronie’ [The waves of Coronie] from 2011. Objects that seem to move, that suggest rather than copy the reality, that regardless of their sometimes compact and tough material can express a lightness and a vulnerability, and which are capable of seducing the viewer without adapting to conventional tastes. In short, she knows how to make the most of the quality and the characteristics of her material, in an inventive and creative way.

Although she uses a lot of colors in some of her other objects, for this work she choose only a limited amount of dark colors, which do however harbor many nuances within. Similar to how water can also be colorful in its apparent monotony.

TEXT Rob Perrée, Amsterdam, February 2015

TRANSLATION Cassandra Gummels-Relyveld, 2015

Want to see this and other work of Hanka Wolterstorff ‘up close and personal’? That’s possible at Readytex Art Gallery, Steenbakkerijstraat 30, Paramaribo. www.readytexartgallery.comFor more information about Hanka Wolterstorff please visit the website http://readytexartgallery.com/hankawolterstorff.

Print

More work by Hanka Wolterstorff available in Readytex Art Gallery:

Hanka Wolterstorff, 'Llama', ceramics, 26wx33hx25d cm, 2014 - USD 200 / PHOTO Readytex Art Gallery/William Tsang

Hanka Wolterstorff, ‘Llama’, ceramics, 26wx33hx25d cm, 2014 – USD 200 / PHOTO Readytex Art Gallery/William Tsang

Hanka Wolterstorff, 'Untiltled I', ceramics, 2007 - USD 125 / PHOTO Readytex Art Gallery/William Tsang

Hanka Wolterstorff, ‘Untiltled I’, ceramics, 2007 – USD 125 / PHOTO Readytex Art Gallery/William Tsang

Hanka Wolterstorff, 'Vaas', ceramics, 28wx31hx18d cm, 2014 - USD 300 / PHOTO Readytex Art Gallery/William Tsang

Hanka Wolterstorff, ‘Vaas’, ceramics, 28wx31hx18d cm,
2014 – USD 300 / PHOTO Readytex Art Gallery/William Tsang

Hanka Wolterstorff, 'Speelbal van de natuur', ceramics, 40wx35hx30d cm, 2011 - USD 250 / PHOTO Readytex Art Gallery/William Tsang

Hanka Wolterstorff, ‘Speelbal van de natuur’, ceramics, 40wx35hx30d cm, 2011 – USD 250 / PHOTO Readytex Art Gallery/William Tsang

LOGO eye for art

This edition of An Eye for Art has been sent as a RAG-mailing on February 11, 2015 and was published in Kunst en Cultuur in de Ware Tijd on February 11, 2015.

Because really looking at art and understanding art are not always obvious and easy to do, we hope that these regular reviews will at least offer you some insight into the process.  You will get to see how a connoisseur looks at art, discusses it, and then links the work to others within the international art world.

Of course you can only truly judge a work of art when you are actually standing in front of it yourself. We therefore hope to see you soon in Readytex Art Gallery  and are eager to hear what you think of this artwork, and which other works of art you find yourself drawn to. Please note that the artworks discussed are still available for purchase at the time that the review is published.

Rob Perrée is art historian and works as freelance writer, art critic and curator, specialized in contemporary (Afro-) American art, African art, Surinamese art and art using new media. His work has appeared in countless catalogues, books, magazines and newspapers. He is editor of Sranan Art Xposed, editor in chief of Africanah.org and a member of the editing team of Pf Photo Magazine. His website: http://robperree.com.

Permalink Leave a Comment

Jews in the Caribbean. Four Centuries of History in Suriname and Curacao

February 1, 2015 at 11:22 am (A Close Look) (, , , , , , , , , , , , , , , , , , , )

On January 30, 2015 the Jewish Historical Museum in Amsterdam, the Netherlands, opened with a new exhibition: Jews in the Caribbean. Four Centuries of History in Suriname and Curacao. For the first time an extensive exhibition will shed light on the rise and fall of the Jewish communities in countries such as Brazil, Curaçao and Suriname.

The exhibition will be open from January 30 until June 14, 2015.

Jews in the Caribbean. Four Centuries of History in Suriname and Curacao

Jews in the Caribbean. Four Centuries of History in Suriname and Curacao

The sponsors of the exhibition

The sponsors of the exhibition

Although this is not an event about visual arts, we still feel it is good to share this with our Sranan Art Xposed audience. Sasha Dees offered to share her photos with us and so we are grateful to share these with you.

This exhibition is about an important part of Surinamese history. The presence of Jewish people in the Caribbean has added many flavors and colors to the fabric of our culture as we know it today.

Also, this year, we, the SAX Team, want to take a closer look at museums and how they display/share their collection.

Opening night 'Jews in the Caribbean', Cindy Kerseborn on the right / PHOTO Sasha Dees, 2015

Opening night ‘Jews in the Caribbean’, Cindy Kerseborn on the right / PHOTO Sasha Dees, 2015

Opening night 'Jews in the Caribbean', Dorien van Hinte-Rustwijk / PHOTO Sasha Dees, 2015

Opening night ‘Jews in the Caribbean’, Dorien van Hinte-Rustwijk / PHOTO Sasha Dees, 2015

Opening night 'Jews in the Caribbean', Eddy Wijngaarde in the background / PHOTO Sasha Dees, 2015

Opening night ‘Jews in the Caribbean’, Eddy Wijngaarde in the background / PHOTO Sasha Dees, 2015

Opening night 'Jews in the Caribbean', Ellen Tjon A Meeuw / PHOTO Sasha Dees, 2015

Opening night ‘Jews in the Caribbean’, Ellen Tjon A Meeuw / PHOTO Sasha Dees, 2015

Opening night 'Jews in the Caribbean', Jennifer Smit / PHOTO Sasha Dees, 2015

Opening night ‘Jews in the Caribbean’, Jennifer Smit / PHOTO Sasha Dees, 2015

Opening night 'Jews in the Caribbean', John Leerdam and friend / PHOTO Sasha Dees, 2015

Opening night ‘Jews in the Caribbean’, John Leerdam and friend / PHOTO Sasha Dees, 2015

Opening night 'Jews in the Caribbean', Mike Ho Sam Sooi / PHOTO Sasha Dees, 2015

Opening night ‘Jews in the Caribbean’, Mike Ho Sam Sooi / PHOTO Sasha Dees, 2015

Opening night 'Jews in the Caribbean', Nancy Jouwe and Gianni Campbell / PHOTO Sasha Dees, 2015

Opening night ‘Jews in the Caribbean’, Nancy Jouwe and Gianni Campbell / PHOTO Sasha Dees, 2015

Opening night 'Jews in the Caribbean' / PHOTO Sasha Dees, 2015

Opening night ‘Jews in the Caribbean’ / PHOTO Sasha Dees, 2015

Opening night 'Jews in the Caribbean', Pearl Dias / PHOTO Sasha Dees, 2015

Opening night ‘Jews in the Caribbean’, Pearl Dias / PHOTO Sasha Dees, 2015

Opening night 'Jews in the Caribbean', Rudy  Chotoe and partner / PHOTO Sasha Dees, 2015

Opening night ‘Jews in the Caribbean’, Rudy Chotoe and partner / PHOTO Sasha Dees, 2015

PHOTOS Sasha Dees, 2015

Sasha Dees: “I want to provide a platform for emerging artists who push limits, cross borders and break down barriers. Art for me is about communication, confronting people without imposing, and creating a dialogue that offers a different perspective. I am interested in the collaboration between different cultures, traditions, genders and between the various art disciplines. All art disciplines are equally important to me –performing arts, visual arts, new media, literature and film. I work with artists who experiment with the classical art forms, who mix them up and break them down– not to destroy, but to analyze, re-use and build something new.”

Sasha lives for the arts. She has 15 years of experience as an international cultural producer and curator working on numerous projects in all art disciplines. She was one of the pioneers in rebuilding the cultural exchange between The Netherlands and Suriname (Caribbean). She also works with American artists and organisations: curating and scouting American talent for European venues and festivals as well as initiating, producing and/or advising on art and cultural exchanges and international collaborations.

Next to her own projects she founded- together with Philip Powel- the not for profit organisation for the arts John106.

+++

A blog post by Peter Sanches about the exhibition (Dutch language) can be found here: http://mofokoranti.nl.

Article about exhibition in 'De Telegraaf', February 2, 2015

Article about exhibition in ‘De Telegraaf’, February 2, 2015

On YouTube an interview with curator Julie-Marthe Cohen (Jewish Historical Museum) about the exhibition Jews in the Caribbean.  

Als on YouTube: a promo video for ‘A kippah in the Caribbean’, a video production by Tanja Fraai and Mike Ho-Sam-Sooi.  

Permalink Leave a Comment

An Eye for Art: René Tosari, ‘Coronie wiki’

January 28, 2015 at 11:51 am (An Eye for Art) (, , , , , , )

In collaboration with art critic Rob PerréeReadytex Art Gallery has developed an informative initiative: An Eye for Art. Once every two weeks Rob Perrée discusses a work of art from the collection of Readytex Art Gallery. This week he talks about ‘Coronie wiki’, mixed media on canvas, 150 cm wide x 100 cm high, 2014, by René Tosari.

René Tosari, ‘Coronie wiki’, mixed media on canvas, 150 cm wide x 100 cm high, 2014 - USD 1700 / PHOTO Readytex Art Gallery/William Tsang

René Tosari, ‘Coronie wiki’, mixed media on canvas, 150 cm wide x 100 cm high, 2014 – USD 1700 / PHOTO Readytex Art Gallery/William Tsang

“Sometimes they look like people, sometimes like animals, but often they seem like something halfway between human and animal. There are also shapes that look more like signs, like symbols. The small ‘islands’ are reminiscent of halved oranges.”

This is a sentence that I needed for this series last year, in order to describe the imagery of the large painting ‘Diversity is Power’ from René Tosari (Meerzorg, 1948). An imagery with detours, with signs and symbols of which you have to figure out the meaning; an imagery that is not averse to a touch of surrealism.

How different it is with this work. Here Tosari more closely approaches the reality, even if the formal setting is more artificial than reality. It resembles a collection of postcards that have fluttered down into a woodsy landscape. The images on the cards are clear: children, buildings, a statue, nature. The meaning can be deduced from the texts that Tosari has incorporated on the canvas. And from the title: The painting ‘Coronie wiki’ (Coronie wake up) is an appeal to the community – in this case  the district Coronie serves as an example – to wake up and make sure that her children are provided with good education so that later on, they can be proud and know that they are respected. This looks like the ‘old’ Tosari. The artist with a mission. The artist who was, mostly in the eighties and especially through his graphical prints, deeply committed  to changing his country. The artist who found it more important that his work had an impact, rather than it bringing him artistic appreciation or financial gain.

It is striking that ‘Coronie wiki’ comes from a series of canvases that he made in his last year in the Netherlands. He would soon turn 65 and he had decided that he would return to Suriname. His task in the Netherlands was done. This task included among other things, that he wanted to give children the opportunity to develop themselves creatively. It seems as though he wants to pass that ideal on to his homeland. But this canvas, and other paintings in this series as well, breathe a sense of yearning for Suriname. It seems as though he has taken inspiration from old family photos. He has resurrected those memories in his work, in order to prepare for his return. In those memories a symbolic and a surreal imagery is of little use. Those styles stand for a sublimated reality. Tosari wants to return to the true reality. And … that includes a message.

TEXT Rob Perrée, Amsterdam, January 2015

TRANSLATION Cassandra Gummels-Relyveld

Want to see this and other work of René Tosari ‘up close and personal’? That’s possible at Readytex Art Gallery, Maagdenstraat 44-upstairs, Paramaribo. www.readytexartgallery.comFor more information about René Tosari please visit the website http://readytexartgallery.com/renetosari.

Print

More on the Sranan Art blog about René Tosari please look here.

More work by René Tosari available in Readytex Art Gallery:

René Tosari, ‘The world in motion’, mixed media on canvas, 150 cm wide x 110 cm high, 2014 - USD 1800 / PHOTO Readytex Art Gallery/William Tsang

René Tosari, ‘The world in motion’, mixed media on canvas, 150 cm wide x 110 cm high, 2014 – USD 1800 / PHOTO Readytex Art Gallery/William Tsang

René Tosari, ‘Coronie libi de I’ [Coronie there is life I], mixed media on canvas, 100 cm wide x 140 cm high, 2010 - USD 1700 / PHOTO Readytex Art Gallery/William Tsang

René Tosari, ‘Coronie libi de I’ [Coronie there is life I], mixed media on canvas, 100 cm wide x 140 cm high, 2010 – USD 1700 / PHOTO Readytex Art Gallery/William Tsang

René Tosari, ‘Coronie libi de III’ [Coronie there is life III], mixed media on canvas, 92 cm wide x 149 cm high, 2010 - USD 1700 / PHOTO Readytex Art Gallery/William Tsang

René Tosari, ‘Coronie libi de III’ [Coronie there is life III], mixed media on canvas, 92 cm wide x 149 cm high, 2010 – USD 1700 / PHOTO Readytex Art Gallery/William Tsang

René Tosari, ‘Dichtbij de oorsprong 18’ [Close to the source 18], mixed media on canvas, 160 cm wide x 250 cm high, 2010 - USD 3000 / PHOTO Readytex Art Gallery/William Tsang

René Tosari, ‘Dichtbij de oorsprong 18’ [Close to the source 18], mixed media on canvas, 160 cm wide x 250 cm high, 2010 – USD 3000 / PHOTO Readytex Art Gallery/William Tsang

René Tosari, ‘Untitled I’, mixed media on canvas, 100 cm wide x 149 cm high, 2010 - USD 1700 / PHOTO Readytex Art Gallery/William Tsang

René Tosari, ‘Untitled I’, mixed media on canvas, 100 cm wide x 149 cm high, 2010 – USD 1700 / PHOTO Readytex Art Gallery/William Tsang

René Tosari, ‘Diversity is power 1’, mixed media on canvas, 95 cm wide x 110 cm high, 2009 - USD 1500 / PHOTO Readytex Art Gallery/William Tsang

René Tosari, ‘Diversity is power 1’, mixed media on canvas, 95 cm wide x 110 cm high, 2009 – USD 1500 / PHOTO Readytex Art Gallery/William Tsang

René Tosari, ‘Environment (take care of ...)’, mixed media on canvas, 85 cm wide x 138.5 cm high, 2008 - USD 1500 / PHOTO Readytex Art Gallery/William Tsang

René Tosari, ‘Environment (take care of …)’, mixed media on canvas, 85 cm wide x 138.5 cm high, 2008 – USD 1500 / PHOTO Readytex Art Gallery/William Tsang

René Tosari, ‘Digi battle I’, mixed media on canvas, 90 cm wide x 90 cm high, 2008 - USD 1500 / PHOTO Readytex Art Gallery/William Tsang

René Tosari, ‘Digi battle I’, mixed media on canvas, 90 cm wide x 90 cm high, 2008 – USD 1500 / PHOTO Readytex Art Gallery/William Tsang

A work by René Tosari from the 'Digi' series was used for an art wrap, as sold by the Readytex Art Gallery

A work by René Tosari from the ‘Digi’ series was used for an art wrap, as sold by the Readytex Art Gallery

A work by René Tosari from the 'Digi' series was used for an art wrap, as sold by the Readytex Art Gallery

A work by René Tosari from the ‘Digi’ series was used for an art wrap, as sold by the Readytex Art Gallery

LOGO eye for art

This edition of An Eye for Art has been sent as a RAG-mailing on January 28, 2015 and was published in Kunst en Cultuur in de Ware Tijd on January 28, 2015.

Because really looking at art and understanding art are not always obvious and easy to do, we hope that these regular reviews will at least offer you some insight into the process.  You will get to see how a connoisseur looks at art, discusses it, and then links the work to others within the international art world.

Of course you can only truly judge a work of art when you are actually standing in front of it yourself. We therefore hope to see you soon in Readytex Art Gallery  and are eager to hear what you think of this artwork, and which other works of art you find yourself drawn to. Please note that the artworks discussed are still available for purchase at the time that the review is published.

Rob Perrée is art historian and works as freelance writer, art critic and curator, specialized in contemporary (Afro-) American art, African art, Surinamese art and art using new media. His work has appeared in countless catalogues, books, magazines and newspapers. He is editor of Sranan Art Xposed, editor in chief of Africanah.org and a member of the editing team of Pf Photo Magazine. His website: http://robperree.com.

 

Permalink Leave a Comment

‘Ruwe Bolsters’, RaQuel van Haver – SBK Galerie 23

January 18, 2015 at 12:41 pm (Elsewhere) (, , , , )

What: Exhibition Ruwe Bolsters, with RaQuel van Haver

When: January 18-February 13, 2015

Where: SBK Galerie 23, KNSM-laan 307-309, 1019 LE Amsterdam, the Netherlands

Studio view RoQuel van Haver | PHOTO Auke VanderHoek (http://aukevanderhoek.com/), 2014

Quote from an article about her work: “Questions such as ‘Who am I?’ and ‘What am I doing here?’ are the fundamental questions she has often asked herself and which she is now letting her ‘models’ ask. These are often young men she encounters in her surroundings. Tough macho guys who take on an identity. Because of their posture, their clothes, their behavior. Who appear tougher than they really are.”

Work by RaQuel van Haver | PHOTO Auke VanderHoek (http://aukevanderhoek.com/), 2014

Work by RaQuel van Haver | PHOTO Auke VanderHoek (http://aukevanderhoek.com/), 2014

Work by RaQuel van Haver | PHOTO Auke VanderHoek (http://aukevanderhoek.com/), 2014

Work by RaQuel van Haver | PHOTO Auke VanderHoek (http://aukevanderhoek.com/), 2014

Work by RaQuel van Haver | PHOTO Auke VanderHoek (http://aukevanderhoek.com/), 2014

Work by RaQuel van Haver | PHOTO Auke VanderHoek (http://aukevanderhoek.com/), 2014

Read Rob Perrée’s article on the SBK Galerie 23 page.

Blog post by Auke VanderHoek.

Also mentioned in ARC Magazine.

+++

Permalink Leave a Comment

2nd Kochi-Muziris Biennale ‘Whorled Explorations’, Kerala, India

January 16, 2015 at 6:21 pm (Elsewhere) (, , , , , , )

kmb logo Whorled-Explorations-type-Final

This biennial in India is an inspiration for art initiatives throughout the world, especially for countries where budgets are tight and technological possibilities require a lot of ‘out of the box thinking’.

What: Second Kochi-Muziris Biennale Whorled Explorations (also on Facebook), on Google+, on Twitter and on Youtube)

When: December 12, 2014–March 29, 2015

Where: Kochi, Muziris and surrounding islands, Kerala, India.  The shows are held in existing galleries and halls, and site-specific installations in public spaces, heritage buildings and disused structures.

From the Curatorial Note: “Whorled Explorations is conceived as a temporary observation deck hoisted at Kochi. The exhibition draws upon a wide glossary of signs from this legendary maritime gateway to bring together sensory and conceptual propositions that map our world referencing history, geography, cosmology, time, space, dreams and myths.”

The Kochi Biennale Foundation (KBF) is a non-profit charitable trust engaged in promoting art & culture and educational activities in India; primary amongst them the hosting of the Kochi-Muziris Biennale. KBF works around the year to strengthen contemporary art infrastructure and to broaden public access to art across India.

The Kochi Biennale Foundation is also engaged in the conservation of heritage properties and monuments and the upliftment of traditional forms of art and culture.

KBF was founded in 2010 by artists Bose Krishnamachari and Riyas Komu.

Map

Map

Julian Charrière, We Are All Astronauts, 2013. 13 found globes made of glass, plastic, paper and wood. Steel base with MDF board, dust from globes' surface and international mineral sandpaper. Photo: Martin Agryroglo. Courtesy Julian Charrière.

Julian Charrière, We Are All Astronauts, 2013. 13 found globes made of glass, plastic, paper and wood. Steel base with MDF board, dust from globes’ surface and international mineral sandpaper / PHOTO Martin Agryroglo. Courtesy Julian Charrière

Permalink Leave a Comment

The new Sranan Art Xposed has arrived, nr. 10, January 2015

January 15, 2015 at 11:16 pm (Interesting reads) ()

logo SAX 10

Dear SAX-readers!

We start the year on a positive note and ring in 2015 with a once again beautiful and well-filled edition of Sranan Art Xposed. We wish you an artistic and creative new year in which ART may play a large role. Because: “What would EARTH be without ART? EH …”

Much reading- and looking pleasure!

On behalf of the SAX-team, Marieke

Marieke

Marieke

Cassandra

Cassandra

Ada

Ada

Chandra

Chandra

Rob

Rob

Wendy

Wendy

Download your English edition of SAX 10 here: SAX 10 English edition jan15

Download your Dutch version of SAX 10 here: SAX 10 Nederlandse editie jan15

Interested? For a free subscription please send a mail to srananart@gmail.com

CONTENTS | JANUARY 2015
Dear Reader – A word in advance by Marieke Visser
Outspoken – Cassandra Gummels-Relyveld talks with Razia Barsatie about her Moengo-residency
Preview – Chandra van Binnendijk talking with Els Tjong Joe Wai
On-sight – Exhibitions in Suriname
Bits & Pieces – Short updates from the art world in Suriname
From the Collection – At home with Ruud Souverein
In the District – A visit to the rastas in Pikin Slee
Agenda Sranan – What there is to do in Suriname
Beyond Borders Inspired – Jon Daamen in South-Africa
Beyond Borders On-sight – Rob Perrée about the exhibition of Remy Jungerman
Beyond Borders On-sight – Rob Perrée about Diana Blok
Beyond Borders Agenda – Activities Beyond Borders
Good Reads – Books, magazines, reports: letters about art
An Eye for Art – Learning how to look at art: Sri Irodikromo
Connected – The virtual world

Children of the spider Anansi are we 

and the wider world is our web 

love, lust or fate

takes us to the farthest points 

where ever we may go in that worldly web 

everywhere there are threads to grasp 

and threads to let go 

 

(A verse of the Ashanti-people in Ghana)

Permalink Leave a Comment

Next page »

Follow

Get every new post delivered to your Inbox.

Join 628 other followers

%d bloggers like this: